Keywords
Digital Audio Workstation (DAW)
Sound Engineering
Generative Artificial Intelligence Systems
Music Teacher
How to Cite
Abstract
The article investigates the problem of forming sound engineering activity of a teacher of music in the conditions of digitalization of modern music education. The need to expand the professional training of music teachers through mastering modern sound engineering technologies that combine artistic, technical and information components is substantiated. The theoretical principles of sound engineering as an interdisciplinary phenomenon that combines musical art, technical means of sound recording and modern information technologies are revealed. The functional capabilities of digital audio workstations (Digital Audio Workstations – DAW) as the main tools of modern sound engineering are analyzed, in particular Ardour, MusE, Pro Tools, Logic Pro, Ableton Live, Cubase, Audacity and others. A comparative analysis of freely distributed and proprietary software is carried out according to the main characteristics: recording, mixing, editing, mixing, support for plugins, MIDI tracks, import and export of audio files, work with video. The possibilities of using plugin standards (VST, LV2, AAX, AU) and MIDI technology in the process of creating and processing musical material are also considered. The results of an experimental study conducted among applicants for specialties 014.13 "Secondary Education (Musical Art)" and 025 "Musical Art" are presented. The study studied the practice of using DAW and generative artificial intelligence (AI) programs. It was found that students mainly use classical DAWs to work with sound, the main advantages of which include: full control over the creative process, flexibility of settings, professional sound quality. At the same time, they show significant interest in modern generative AI tools that allow them to quickly generate musical ideas and experiment with the stylistics of musical material. It is shown that the integration of classical sound engineering software environments and AI technologies opens up new opportunities in the process of professional training of music teachers. The development of didactic conditions for the use of digital technologies for sound engineering activities in the system of training future teachers of music will be the prospects of our further explorations.
References
[1] А. Г. Болгарський, «Сучасні проблеми підготовки майбутнього вчителя музичного мистецтва до роботи в загально-освітній школі», Науковий Часопис НПУ Імені М П Драгоманова, вип. № 18, с. 67-82, 2015, [Електронний ресрс]. Доступно: http:// nbuv.gov.ua/UJRN/Nchnpu_014_2015_18_21
[2] С. Чернега, «Методика формування звукорежисерських умінь майбутніх учителів музичного мистецтва у процесі фахової підготовки», Магістерська робота, Чернівецький національний університет імені Юрія Федьковича, Чернівці, 2023. [Електронний ресрс]. Доступно: https://archer.chnu.edu.ua/bitstream/handle/123456789/9066/educ_2024_170.pdf?sequence=1&isAllowed=y
[3] K. Devine and A. Boudreault-Fournier, Editor, Audible Infrastructures: Music, Sound, Media. Oxford University Press, 2021. doi: 10.1093/oso/9780190932633.001.0001.
[4] М. Ужинський, Мистецтво звукорежисури : метод. вказівки до виконання практ. та самост. роботи для студентів спец. 025 «Муз. мистецтво» освітньої програми «Муз. мистецтво. Комп’ютерно-електронна музика». Рівнен. держ. гуманіт. ун-т, І-т мистецтв, каф. естрадної музики: РДГУ, 2022.
[5] Л. Г. Гаврілова, «Принципи формування професійної компетентності майбутніх учителів музики засобами мультимедійних технологій», Інформаційні технології і засоби навчання, вип. 46, № 2, с. 45-55, Квіт. 2015, doi: 10.33407/itlt.v46i2.1210.
[6] О. Рибніков, «Педагогічні умови формування готовності майбутніх вчителів музики до використання цифрового електронного музичного інструментарію у професійній діяльності», Проблеми підготовки сучасного вчителя, вип. № 6, вип. Ч. 2, с. 168–175, 2012, Дата звернення: 09, Січень 2026. [Електронний ресрс]. Доступно: http://www.irbis-nbuv.gov.ua/cgi-bin/irbis_nbuv/cgiirbis_64.exe?I21DBN=LINK&P21DBN=UJRN&Z21ID=&S21REF=10&S21CNR=20&S21STN=1&S21FMT=ASP_meta&C21COM=S&2_S21P03=FILA=&2_S21STR=ppsv_2012_6(2)__25
[7] О. М. Рибніков, «Педагогічна діагностика рівнів готовності майбутніх учителів музики до використання цифрового електронного музичного інструментарію у професійній діяльності», Сучасні Стратегії Університетської Освіти Якісний Вимір Матер Міжнар Наук-Практ Конф 28-29 Березня, с. 760–768, Бер 2012, Дата звернення: 11, Січень 2026. [Електронний ресрс]. Доступно: https://elibrary.kubg.edu.ua/id/eprint/10739/
[8] G. R. Greher and J. M. Heines, «Computational Thinking in Music Courses How to Get Artsy Types to Start Thinking like Geeks and Vice Versa», в Computational Thinking in Sound: Teaching the Art and Science of Music and Technology, G. R. Greher and J. M. Heines, Editor, Oxford University Press, 2014, pp. 3-20. doi: 10.1093/oso/9780199826179.003.0006.
[9] G. R. Greher and J. M. Heines, Computational Thinking in Sound: Teaching the Art and Science of Music and Technology. Oxford University Press, 2014. doi: 10.1093/oso/9780199826179.001.0001.
[10] H. V. Fuchs and X. Zha, «Requirement for low-frequency reverberation in spaces for music: Part 1: Smaller rooms for different uses», Psychomusicology Music Mind Brain, Vol. 25, no. 3, pp. 272-281, 2015, doi: 10.1037/pmu0000088.
[11] L. Marzola, «The Fundamentals: Technical Education in the Chaos of Sound», in Engineering Hollywood: Technology, Technicians, and the Science of Building the Studio System, L. Marzola, Editor, Oxford University Press, 2021, pp. 136-163. doi: 10.1093/oso/9780190885588.003.0006.
[12] А. Бондарчук, «Методи розвитку звукорежисерських навичок майбутніх вчителів музичного мистецтва», Інноваційна педагогіка, вип. 55, № 1, с. 113–116, 2023, doi: 10.32782/2663-%206085/2023/55.1.22.
[13] О. М. Коваленко, «Особливості використання цифрових аудіо робочих станцій, призначених для створення електронної музики в умовах неформальної освіти дорослих», Інформаційні технології і засоби навчання, вип. 53, вип. 3, с. 178-196, Лип. 2016, doi: 10.33407/itlt.v53i3.1428.
[14] М. Ужинський, «До питання становлення професії ‘Звукорежисер’ в Україні», Українська культура: минуле, сучасне, шляхи розвитку, вип. 40, с. 120–125, Чер 2022, doi: 10.35619/ucpmk.vi40.536.
[15] Г. О. Десятник і С. В. Бадіон, Професія: звукорежисер: тексти лекцій, Інститут журналістики КНУ. Київ, 2019. [Електронний ресрс]. Доступно: https://ktm.journ.knu.ua/wp-content/uploads/2020/02/Profesiia-zvukorezhyser-verstka-konvertyrovan.pdf
[16] J. Ashbourn, «The Use of Digital Audio Workstations and the Impact on Music», springerprofessional.de. Accessed: 16 January 2026. [Електронний ресрс]. Доступно: https://www.springerprofessional.de/en/the-use-of-digital-audio-workstations-and-the-impact-on-music/18682448
[17] S. Giddings, «Digital Audio Workstations», in Technology for Unleashing Creativity: Practical Tips and Tools for Music Educators, S. Giddings, Editor, Oxford University Press, 2022, pp. 38-63. doi: 10.1093/oso/9780197570739.003.0005.
[18] S. Zagorski-Thomas, «Wired for Sound: Engineering and Technologies in Sonic Cultures. Ed. by Paul D. Greene and Thomas Porcello. pp. viii + 288. (Wesleyan University Press, Middletown, Conn., 2005, $65.95/$24.95. ISBN 0-8195-6516-4/-6517-2.)», Music Lett., Vol. 87, no. 4, с. 694–697, November 2006, doi: 10.1093/ml/gcl011.
[19] C. A. N. Mazlan et al., «Artificial intelligence applications and pedagogical challenges in music education», Discov. Educ., Vol. 5, no. 1, p. 140, January 2026, doi: 10.1007/s44217-026-01127-3.
[20] W. Slaten, «Doing Sound: An Ethnography of Fidelity, Temporality and Labor among Live Sound Engineers», Ph.D., Columbia University, United States -- New York, 2018. Accessed: 17 December 2024. [Електронний ресрс]. Доступно: https://www.proquest.com/docview/2034418672/abstract/B7CD601C76FF463APQ/1
[21] М. Ужинський і О. Сметана, «Специфіка застосування фонограми в естрадній музиці», Збірник наукових праць «Мистецтвознавчі записки», вип. 44, с. 113–118, 2023, doi: 10.32461/2226-2180.44.2023.293929.
[22] D. M. Huber and R. E. Runstein, Modern Recording Techniques, вип. Seventh Edition. Oxford: Elsevier, 2010. doi: 10.4324/9780080928036.
[23] D. Gibson, The Art of Mixing: A Visual Guide to Recording, Engineering, and Production, 3rd edition. New York: Routledge, 2019. doi: 10.4324/9781351252225.
[24] B. Andrei, M. V. Merino, and I. Malavolta, «The Ecosystem of Open-Source Music Production Software – A Mining Study on the Development Practices of VST Plugins on GitHub», в 2025 IEEE/ACM 22nd International Conference on Mining Software Repositories (MSR), April 2025, с. 513-525. doi: 10.1109/MSR66628.2025.00085.
[25] M. Buffa, J. Lebrun, J. Kleimola, O. Larkin, G. Pellerin, and S. Letz, «WAP: Ideas for a Web Audio Plug-in Standard», в Proceedings of the 4th WebAudio Conference, Berlin, 2018, Berlin, France: TU Berlin, Sept. 2018. Date of access: 26, March 2026. [Електронний ресрс]. Доступно: https://univ-cotedazur.hal.science/hal-01893660
[26] L. Pech, «Technologie MIDI a její možná využití», 2025, Date of access: 26, March 2026. [Online]. Available at: https://dspace.cuni.cz/handle/20.500.11956/198684
[27] «Estimating Linux’s Size». Accessed: 16 January 2026. [Електронний ресрс]. Доступно: https://dwheeler.com/sloc/redhat62-v1/redhat62sloc.html
[28] В. Є. Величко, «Стратегія впровадження вільного програмного забезпечення в процесі підготовки вчителів математики, фізики та інформатики», Інформаційні технології і засоби навчання, вип. 50, вип. 6, Art. вип. 6, 2015, doi: 10.33407/itlt.v50i6.1293.
[29] МОН України, «Про затвердження професійного стандарту ‘Вчитель закладу загальної середньої освіти’». Дата звернення: 16, Лютий 2026. [Електронний ресрс]. Доступно: https://mon.gov.ua/npa/pro-zatverdzhennia-profesiinoho-standartu-vchytel-zakladu-zahalnoi-serednoi-osvity
REFERENCES (TRANSLATED AND TRANSLITERATED)
[1] A. G. Bolgarsky, “Modern problems of training future teachers of music to work in a general education school”, Scientific Journal of the National University named after M. P. Dragomanov, vol. 18, pp. 67-82, 2015. (in Ukrainian)
[2] S. Chernega, “Methodology of forming sound engineering skills of future teachers of music in the process of professional training”, Master's thesis, Yuriy Fedkovych Chernivtsi National University, Chernivtsi, 2023. [Online]. Available: https://archer.chnu.edu.ua/bitstream/handle/123456789/9066/educ_2024_170.pdf?sequence=1&isAllowed=y. Accessed on: Desember. 10, 2025 (in Ukrainian)
[3] K. Devine and A. Boudreault-Fournier, Audible Infrastructures: Music, Sound, Media. Oxford University Press, 2021. doi: 10.1093/oso/9780190932633.001.0001. (in English)
[4] M. Uzhynsky, The art of sound engineering: methodical instructions for practical and independent work for students of special education. 025 "Musical Art" of the educational program "Musical Art. Computer-Electronic Music". Rivne. State Humanities. Univ., Institute of Arts, Department of Pop Music: RDGU, 2022. (in Ukrainian)
[5] L. H. Havrilova, “Principles of forming professional competence of future music teachers using multimedia technologies”, Inf. Technol. Learn. Tools, vol. 46, no. 2, pp. 45-55, April 2015, doi: 10.33407/itlt.v46i2.1210. Accessed on: Desember. 10, 2025 (in Ukrainian)
[6] O. Rybnikov, “Pedagogical conditions for the formation of readiness of future music teachers to use digital electronic musical instruments in professional activities”, Problems of training of a modern teacher, vol. № 6, vol. Ch. 2, pp. 168-175, 2012. (in Ukrainian)
[7] O. M. Rybnikov, “Pedagogical diagnostics of the levels of readiness of future music teachers to use digital electronic musical instruments in professional activities”, Modern Strategies of University Education Qualitative Dimension, Mater International Science-Practice Conf 28-29 March, pp. 760-768, Mar 2012. (in Ukrainian)
[8] G. R. Greher і J. M. Heines, «Computational Thinking in Music Courses How to Get Artsy Types to Start Thinking like Geeks and Vice Versa», in Computational Thinking in Sound: Teaching the Art and Science of Music and Technology, G. R. Greher і J. M. Heines, Edit., Oxford University Press, 2014, pp. 3-20. doi: 10.1093/oso/9780199826179.003.0006. (in English)
[9] G. R. Greher і J. M. Heines, Computational Thinking in Sound: Teaching the Art and Science of Music and Technology. Oxford University Press, 2014. doi: 10.1093/oso/9780199826179.001.0001. (in English)
[10] H. V. Fuchs і X. Zha, «Requirement for low-frequency reverberation in spaces for music: Part 1: Smaller rooms for different uses», Psychomusicology Music Mind Brain, vol. 25, no. 3, pp. 272-281, 2015, doi: 10.1037/pmu0000088. (in English)
[11] L. Marzola, «The Fundamentals: Technical Education in the Chaos of Sound», in Engineering Hollywood: Technology, Technicians, and the Science of Building the Studio System, L. Marzola, Edit., Oxford University Press, 2021, P. 136-163. doi: 10.1093/oso/9780190885588.003.0006. (in English)
[12] A. Bondarchuk, “Methods for Developing Sound Engineering Skills of Future Music Teachers”, Innovative Pedagogy, vol. 55, no. 1, pp. 113-116, 2023, doi: 10.32782/2663-%206085/2023/55.1.22. (in Ukrainian)
[13] O. M. Kovalenko, “Features of using digital audio workstations designed for creating electronic music in non-formal adult education,” Inf. Technol. Learn. Tools, vol. 53, no. 3, pp. 178-196, Jul 2016, doi: 10.33407/itlt.v53i3.1428. (in Ukrainian)
[14] M. Uzhynsky, “On the question of the formation of the profession ‘Sound engineer’ in Ukraine”, Ukrainian culture: past, present, development paths, vol. 40, pp. 120-125, Jun 2022, doi: 10.35619/ucpmk.vi40.536. (in Ukrainian)
[15] G. O. Desyatnik and S. V. Badion, Profession: sound engineer: lecture texts, Institute of Journalism of the Kyiv National University. Kyiv, 2019. [Online]. Available: https://ktm.journ.knu.ua/wp-content/uploads/2020/02/Profesiia-zvukorezhyser-verstka-konvertyrovan.pdf. Accessed on: Desember. 10, 2025 (in Ukrainian)
[16] J. Ashbourn, «The Use of Digital Audio Workstations and the Impact on Music», springerprofessional.de. Retrieved 11 January 2026. [Online]. Available: https://www.springerprofessional.de/en/the-use-of-digital-audio-workstations-and-the-impact-on-music/18682448. (in English)
[17] S. Giddings, «Digital Audio Workstations», in Technology for Unleashing Creativity: Practical Tips and Tools for Music Educators, S. Giddings, Oxford University Press, 2022, pp. 38-63. doi: 10.1093/oso/9780197570739.003.0005. (in English)
[18] S. Zagorski-Thomas, «Wired for Sound: Engineering and Technologies in Sonic Cultures. Ed. by Paul D. Greene and Thomas Porcello. pp. viii + 288. (Wesleyan University Press, Middletown, Conn., 2005, $65.95/$24.95. ISBN 0-8195-6516-4/-6517-2.)», Music Lett., vol. 87, no. 4, pp. 694-697, November 2006, doi: 10.1093/ml/gcl011. (in English)
[19] C. A. N. Mazlan et al., «Artificial intelligence applications and pedagogical challenges in music education», Discov. Educ., vol. 5, no. 1, p. 140, January 2026, doi: 10.1007/s44217-026-01127-3. (in English)
[20] W. Slaten, “Doing Sound: An Ethnography of Fidelity, Temporality and Labor among Live Sound Engineers”, Ph.D., Columbia University, United States -- New York, 2018. Accessed: 17, December 2024. [Online]. Available: https://www.proquest.com/docview/2034418672/abstract/B7CD601C76FF463APQ/1. Accessed on: Desember. 10, 2025 (in English)
[21] M. Uzhinsky and O. Smetana, “Specifics of the use of phonograms in pop music”, Collection of scientific works “Artistic notes”, vol. 44, pp. 113-118, 2023, doi: 10.32461/2226-2180.44.2023.293929. (in Ukrainian)
[22] D. M. Huber і R. E. Runstein, Modern Recording Techniques, Seventh Edition. Oxford: Elsevier, 2010. doi: 10.4324/9780080928036. (in English)
[23] D. Gibson, The Art of Mixing: A Visual Guide to Recording, Engineering, and Production, 3rd edition. New York: Routledge, 2019. doi: 10.4324/9781351252225. (in English)
[24] B. Andrei, M. V. Merino, and I. Malavolta, «The Ecosystem of Open-Source Music Production Software – A Mining Study on the Development Practices of VST Plugins on GitHub», in 2025 IEEE/ACM 22nd International Conference on Mining Software Repositories (MSR), April 2025, pp. 513-525. doi: 10.1109/MSR66628.2025.00085. (in English)
[25] M. Buffa, J. Lebrun, J. Kleimola, O. Larkin, G. Pellerin, and S. Letz, «WAP: Ideas for a Web Audio Plug-in Standard», in Proceedings of the 4th WebAudio Conference, Berlin, 2018, Berlin, France: TU Berlin, September 2018. Accessed: 26, March 2026. [Online]. Available: https://univ-cotedazur.hal.science/hal-01893660. (in English)
[26] L. Pech, «MIDI Technology and Its Possible Uses», 2025, Accessed: 26, March 2026. [Online]. Available at: https://dspace.cuni.cz/handle/20.500.11956/198684. (in Czech)
[27] «Estimating Linux’s Size». Accessed: 16, January 2026. [Online]. Available :https://dwheeler.com/sloc/redhat62-v1/redhat62sloc.html. (in English)
[28] V. Y. Velychko, “Strategy for the implementation of free software in the process of training teachers of mathematics, physics and computer science”, Inf. Technol. Learn. Tools, vol. 50, no. 6, Art. no. 6, 2015, doi: 10.33407/itlt.v50i6.1293. Accessed on: Desember. 10, 2025. (in Ukrainian)
[29] Ministry of Education and Science of Ukraine, “On approval of the professional standard ‘Teacher of a general secondary education institution’”. Date of application: 16, February 2026. [Online]. Available: https://mon.gov.ua/npa/pro-zatverdzhennia-profesiinoho-standartu-vchytel-zakladu-zahalnoi-serednoi-osvity. (in Ukrainian)
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Copyright (c) 2026 Nazariy Leshchuk, Bogdan Buyak, Hryhoriy Tereshchuk